1

GRADUATE CONDUCTING RECITAL

By

YULENE VELÁSQUEZ ITURRATE

SUPERVISORY COMMITTEE:

WILL KESLING, CHAIR RUSSELL ROBINSON, MEMBER

A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT

OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC

UNIVERSITY OF FLORIDA 2012

2

To my husband and my family, for their unconditional love and support

3

AKNOWLEDGEMENTS

I want to thank the University of Florida Concert Choir for working very diligently on my recital and filling me with enthusiasm. Many thanks to my advisor Dr. Will

Kesling for sharing his experience and knowledge with me.

4

TABLE OF CONTENTS

AKNOWLEDGEMENTS…………..……………………………………………. 3 ABSTRACT……………………………………………………………………… 5 INTRODUCTION………………………………………………………………. 6 PROGRAM ORDER……………………………………………………………… 8 PROGRAM NOTES……………………………………………………………. 9 PERFORMERS………………………………………………………………………… 13 BIOGRAPHICAL SKETCH…………………………………………………….. 15

5

Summary of Performance Option in Lieu of Thesis

Presented to the College of Fine Arts of the University of Florida In Partial Fulfilment of the Requirements for the

Degree of Master of Music

GRADUATE CONDUCTING RECITAL

By

Yulene Velásquez

November 2012 Chair: Will Kelsing Member: Russell Robinson

On November 18, 2012, I conducted a graduate recital in the University

Auditorium. This graduate recital was in fulfilment of requirements for the Master

of Music in Choral Conducting. The program was comprised of eight choral

compositions. Among these compositions were: Lux Aurumque; Crucifixus; O Sacrum

Convivium; Recordando a Venezuela; Muié Rendera, Chôro No.3 Pica-Pau, Battle of

Jericho; and the third movement of the Gloria. These choral compositions come from

varied genres and cultures across time and space. Baroque/Classical Italy, 20th

Century France, Folk music of modern day Venezuela, 20th Century Art and Folk

Music from Brazil, and modern pieces from the United Kingdom, and the United

States. Within the repertoire were selections in the English, Latin, Spanish and

Portuguese languages. Six of the pieces were a cappella, with the remainder having

varied accompaniment such as accordion, horns, alto saxophone, clarinet, bassoon,

trombones, tuba, trumpets, timpani and percussion. The vocal performers were

student members of the University of Florida Concert Choir, members of the UF

Women’s Chorale and the Chamber Singers from the School of Music.

6

INTRODUCTION

On November 18, 2012, I conducted a graduate recital in the University

Auditorium. This graduate recital was in fulfilment of requirements for the Master

of Music in Choral Conducting. The program was comprised of eight choral

compositions. Among these compositions were: Lux Aurumque; Crucifixus; O Sacrum

Convivium; Recordando a Venezuela; Muié Rendera, Chôro No.3 Pica-Pau, Battle of

Jericho; and the third movement of the Gloria. These choral compositions come from

varied genres and cultures across time and space. Baroque/Classical Italy, 20th

Century France, Folk music of modern day Venezuela, 20th Century Art and Folk

Music from Brazil, and modern pieces from the United Kingdom, and the United

States.

I decided to perform these selections for their variety, their multicultural

character and the challenge they represented for the ensemble. To begin the

program, I chose the choral work Lux Aurumque by Eric Whitacre for its simplicity

and beauty, which helped to set the atmosphere for the rest of the concert. The

program then moved to Crucifixus, an eight-part motet by Antonio Lotti. I have

known this piece for a long time from my choral experience with the Schola

Cantorum de Venezuela. Its intensity and criss-crossed lines provide a vivid feeling

of what could be the crucifixion of Jesus Christ. The next piece was O Sacrum

Convivium by Oliver Messiaen. As my inclination is for more contemporary

harmonies, this piece represented a challenge for the choir and for myself. Although

the entire piece is homophonic, its long phrases necessitate that the interpretation

maintains a constant illation and sense of connectedness much more evident than in

a highly contrapuntal piece. Recordando a Venezuela was composed by the father of

one of the first music teachers I had during my childhood. As the song represents an

important part of my life, I decided to arrange it for the choir and highlight the

Venezuelan waltz, as well as its distinctive polyrhythms. The following piece

performed was a Brazilian tune arranged by Pinto Fonseca, Muié Rendera. As I

taught and conducted this piece with the UF Women’s Chorale throughout the

semester, it seemed logical to invite members of the choir to perform it on my

7

recital. This fit perfectly with the next part of the program. Chôro No.3 Pica-Pau was

a suggestion Dr. Dos Santos made to me after a Jacaré Brazil performance and I

decided to take the challenge. I find Villa-Lobos’ works very interesting, and I am

attracted to the sonority of male voices. This was a perfect opportunity to work with

them. The following piece was Battle of Jericho arranged by Moses Hogan. This was a

natural decision due to the previous project the Chamber Singers were working on,

a set of spirituals performed in Buga, Colombia during an international festival in

October 2012. This piece exalts the roots of African-American music. The last piece

was the third movement of the Gloria by John Rutter. I knew I wanted to do this

piece for my graduate recital ever since I worked with it in one of my conducting

classes in 2010. Its shifting meters, majestic sound and overall positive energy led

me to place it at the close of the concert. The repertoire I chose covers different

styles, tempi, and harmonic structures. Two of the pieces performed included

instrumentation, which is the next area I intend to explore in my conducting career.

8

PROGRAM Lux Aurumque Eric Whitacre (USA) (1970-)

Shelley Sanderson, soloist

Crucifixus Antonio Lotti (Italy) (ca.1667-1740) O Sacrum Convivium Oliver Messiaen (France) (1908-1992)

Recordando a Venezuela* Gerardo Petit/Arr. Yulene Velásquez (1932-) (Venezuela)

Michael Ward-Bergeman, accordion

*world premiere of this arrangement

Muié Rendera Arr. C.A. Pinto Fonseca (Brazil)

(1933-2006)

Members of the University of Florida Women’s Chorale

Chôro No.3 Pica-Pau Heitor Villa-Lobos (Brazil) (1887-1959)

Adren Hance, trombone Melody Rueger, clarinet

Taylor Barber, alto saxophone Laura Weiss, Matthew Brooker, Chris Hunter, horn

Ethan Miller, bassoon

Battle of Jericho Trad./Arr. Moses Hogan (USA) (1957-2003)

University of Florida Chamber Singers Gloria (III movement) John Rutter (UK) (1945-)

University of Florida Concert Choir

Shawn Thomas, organ Schelvin Robinson, trumpet

Fred Green II, trumpet Atse Theodros, trumpet Robert Polidan, trumpet

Matthew Varney, trombone Danielle Scherzer, trombone Adren Hance, bass trombone

Cody Ray, tuba Andrew Barnes, percussion

Caitlin Jones, percussion

9

PROGRAM NOTES Lux Aurumque

Eric Whitacre is one of the most performed composers of his generation. He studied composition at the University of Nevada and the Juilliard School with notable composers including John Corigliano and David Diamond. His choral works and band works have rapidly become accepted in the repertoire due to their strong appeal to audiences and players alike. Lux Aurumque was commissioned in 2000 by the Master Chorale of Tampa Bay. The text was taken from a poem by Edward Esch and translated into the Latin by the celebrated American poet Charles Anthony Silvestri. The piece has been also arranged for wind symphony, string orchestra and male choir. This version features SATB.

Lux, Calida gravisque pura velut aurum Et canunt angeli molliter Modo natum.

Light, Warm and heavy as pure gold And the angels sing softly To the new-born baby.

Crucifixus (eight-part setting) Antonio Lotti was probably born in Venice, and lived and worked there for most of his life. In 1736 he was appointed maestro di capella at Saint Mark’s. He was widely admired for his church music. He composed three settings of the Crucifixus, in six, eight and ten parts. The most frequently performed is this eight-part setting, which originally formed part of a larger work, Credo in F for choir and orchestra that Lotti wrote around 1718 whilst at the court of Dresden. Its cumulative dissonances and dramatic intensity are exceptionally powerful. Crucifixus etiam pro nobis, sub Pontio Pilato, passus et sepultus est.

Crucified also for us, under Pontius Pilate, Suffered, and buried was.

O Sacrum Convivium (O Sacred Feast)

Olivier Messiaen was one of the 20th-century’s most important composers of organ music for the Catholic service. O Sacrum Convivium is his only vocal work specifically for the church. It was composed early in 1937 and when the score was published later that year by Durand, the title page indicated that the work had been commissioned by Abbé F. Brun, a noted authority on Gregorian chant. The first documented performance was in Messiaen’s arrangement for solo voice and organ at a concert of Les Amis de l’Orgue at the Trinité on February 17, 1938. O Sacrum

10

Convivium is an antiphon associated with the Magnificat at the second Vespers service of the feast of Corpus Christi. The text is attributed to St. Thomas Aquinas. O sacrum convivium, in quo Christus sumitur recolitur memoria passionis ejus, mens impletur gratia et futurae gloriae nobis pignus datur, Alleluia.

O sacred banquet, wherein Christ is received the memorial of his passion is renewed the soul is filled with grace and a pledge of future glory is given to us, Alleluia

Recordando a Venezuela (Remembering Venezuela)

Composed by Gerardo Petit, this piece represents an important part of my childhood as well as my current status as a Venezuelan emigrant. The piece is in a traditional waltz rhythm (3/4) of my native country and encompasses syncopation and polyrhythms. In the first part of this original choral arrangement, the traditional Venezuelan cuatro (four string guitar) is represented in the sopranos, tenors and basses, while the altos introduce the melody.

Nostalgia, me lleno de nostalgia al sentirme ausente de mi patria querida recordando su gente, sus pueblos, sus praderas y mientras más recuerdo más te quiero Venezuela. Me dicen que ahora estás más bella, que los que te visitan se quedan encantados. Se emociona mi alma y emprendo una oración dando gracias al cielo y a nuestro Libertador. Orgullosa me siento al decir "Venezuela" pues tienes para todos un poco de amistad... Aquí lo he comprobado, desde un país lejano todo el que te visita quiere volver allá.

Nostalgia...I am filled with nostalgia When I feel away from my beloved country Remembering its people, its villages, its meadows... And the more memories I have, I love you more Venezuela. They tell me that now you are more beautiful, That everyone who visits you is enchanted. It thrills my soul and I undertake a prayer Thanking heaven and our deliverer. I feel proud to say "Venezuela" Because you have for everyone a bit of friendship... Even from this far away country, I have the proof Everyone who visits you wants to return.

11

Muié Rendera

Two of the most popular traditional folk songs from Northeast Brazil are combined in this arrangement of Carlos Alberto Pinto Fonseca. While emphasizing the rhythmic aspects of the songs, Pinto Fonseca’s choral writing is also precise and clear. He enjoyed a successful career as a conductor and is well known for his arrangements of folk music. Ole, muié rendera, Ole, muié renda, Tu me ensina a faze rendá, Que eu te ensino a namorá. Virgulino é Lampeao, É Lampa, é Lampa, é Lampa, é Lampeao. O seu nome é Virgulino, O apelido é Lampeao.

Hey, lacemaker woman, Hey, lacemaker woman, If you teach me how to weave, I’ll teach you how to court. Virgulino is Lampeao. He is Lampa, Lampa, Lampa, He is Lampeao. His name is Virgulino, His nickname is Lampeao.

Chôro no.3 Pica-Pau (Woodpecker)

Chôro is traditionally a Brazilian popular music instrumental style. Its origins are in 19th century Rio de Janeiro. Despite the fact that chôro translates as “cry,” the style often has a fast and happy rhythm, characterized by virtuosity and improvisation. Chôro is considered the first urban popular music typical of Brazil.

Pica-Pau was composed in 1925 for male chorus and wind instruments (clarinet, alto saxophone, bassoon, 3 horns, and trombone.) The work is deeply rooted in indigenous culture. The theme and the lyrics of this chôro, Nozani-Na Orekua comes from the Paricis Indians and were recorded by E. Roquette-Pinto. In this chôro, Villa-Lobos makes repeated use of onomatopœic writing, imitating the sound of the bird pecking at a branch. The male choir finishes off with the exclamation ‘Brazil!’

The Battle of Jericho

Moses Hogan holds an international reputation as one of the world's leading contemporary directors and arrangers of the African-American spiritual. He was born in New Orleans, Louisiana, and studied at The New Orleans Center for Creative Arts and Oberlin Conservatory of Music. Hogan also studied at Juilliard School of Music and Louisiana State University. Hogan’s arrangements have become staples in the repertoires of college, high school, church, community and professional choirs worldwide.

12

Gloria (3rd movement)

John Rutter composed the Gloria as a concert work. It was commissioned by the Voices of Mel Olson and the composer directed the first performance on the occasion of his first visit to the United States in May 1974. The Latin text comes from the Ordinary of the Mass. Rutter’s setting is based mainly on one of the Gregorian chants associated with the text. The composer himself sees this work as analogous to a symphony, with three movements— allegro vivace, andante, vivace e ritmico. The accompaniment is for brass ensemble with timpani, percussion and organ. Rutter says this work is "exalted, devotional and jubilant by turns." Quoniam tu solus sanctus, tu solus Dominus. Tu solus Altisimus, Jesu Christe Cum Sancto Spiritu in Gloria Dei Patris. Amen

For thou alone holy, thou alone Lord. Thou alone most high, Jesus Christ. With Holy Spirit in glory of God Father. Amen.

13

PERFORMERS

University of Florida Concert Choir

Tané DeKrey, Rehearsal pianist

Soprano I Caitlin Ruddy Erica Williams* Grace Svatek* Jessica Reid Kathryn Dutton Lori Weaverling Lynnea Rhodes Michelle Fegeas Peyton Rydell Shelley Sanderson*

Soprano II Amy Smith Caitlin Pearse Caroline Fieldheim* Elizabeth Hartley* Joanna Gardner* Joanna Reeg* Megan Clancy Vennele Jamin

Alto I Amanda Garrett Carolyn Ballard* Emily Stokes Jackie Vondette Jamey Wright* Kaitlyn Flynn Alto II Amber Suleskey* Camille Lively* Cammie Jo Hatcher* Chelsea Brinda Erica Villanueva Rachel Beal*

Tenor I Brandon Good Clemente Cuevas* Dean Thomason* Erick Crow* Phillip Grow*

Tenor II Billy Vranish* Bradley Parsons Camilo Leal Cedric Douglas Gabriel Sanchez Sam Silverberg*

Bass I Jason Beck* Javier Peña Jeramy Nichols Kevin Lozano Matthew Bishchoff Ross Cawton Sean Hoolihan* Shawn Thomas Steven Evens* Tyler Ferguson Bass II Colin Chan Collin Thompson* Dale Brumfield Jarin Whalley Joyner Atiles-Lopez* Kyle Gray* Matt Gender Peter Bushnell* Timothy Williams William Storrs

* University of Florida Chamber Singers

14

Members of the UF Women’s Chorale Sopranos Megan Hammerling Kate Albright Ashley Abney Sarah Johnston Alexandra Robertson Chloe de Crecy Katie Muniz Kira Krall Olivia Couret Allison Gilland Chelsea Kohl Emily Greaves Jill Theis Kirsten Forrester Gisselle Morrobel Altos Kristina Mercado Nashka Desrosiers Jessica Glicksberg Victoria Hutchins Maggie Ameno Miranda Horta Tina Horton Madison Bellaire Beauty Kolenc Remi Okazaki Christel Mimifir Ayanna Thomas

15

BIOGRAPHICAL SKETCH

Yulene Velásquez Iturrate received her Bachelor of Social Communications

from Universidad Santa María, Venezuela. She studied music at the Conservatory

“Juan José Landaeta” and Choral Conducting at the Universidad Nacional

Experimental de las Artes, under Ana María Raga. She has performed internationally

as a member of the Schola Cantorum de Venezuela and has worked with world

renowned composers such as John Adams and Osvaldo Golijov, and under the baton

of Gustavo Dudamel, Helmuth Rilling, Simon Rattle, Claudio Abbado, Louis Langrée,

Erkki Pohjola, Krzysztof Penderecki, Bob Spano, Hakwon Yoon, María Guinand, and

Alberto Grau.

From 2005 to 2010 she performed the Grammy nominated oratorio La

Pasión según San Marcos by Osvaldo Golijov with the Schola Canorum de Venezuela

in several countries and cities of the United States, and participated in the recording

of the album produced by Deutsche Grammophon. As a member of the Schola

Canorum de Venezuela she premiered the contemporary opera A Flowering Tree by

John Adams in Vienna, recording two years later under the production of Nonesuch

Records. As a conductor, Ms. Velásquez worked as Director of the Children’s Choir

from Fundación Empresas Polar, as Assistant Director of the children choir from the

Universidad Central de Venezuela, and as the conductor of the Escuela Nacional de

Música Juan Manuela Olivares. Ms. Velásquez received her Master of Music in Choral

Conducting from the University of Florida in Gainesville, Florida.